Mon24/09/18: After last week’s work on constructing the original box nets into mock ups while sketching new developments for each design, after my evaluation and observation on each box, I chose to explore the sketched development of boxes 1, 8 and 9. This is because they were the stronger, adaptable designs. Once again, I used Ai to draw new tabs, slits and handles – as well as adjust and tweak the old box nets to aim for a no glue construction and the ability to be carried away by a customer.
There may be some issues on how large the bases for box 1 and 8 are – they may need to be made larger to fit more sushi, however this would change their shape and may alter their ability to close together tightly. There is also the query of carrying soy sauce, wasabi and ginger. I’ve had thoughts on keeping the soy sauce contained in a small fish-shaped bottle, hypothetically made out of recycled ocean plastic. Usually ginger and wasabi are plopped alongside the sushi; I could make small packets for them but I am trying to be as waste free as possible. Here are some screenshots of me developing the nets of boxes 1, 8 and 9.
After saving the files, I printed onto a thicker card rather than standard paper, so that the shapes would fold and retain their structure. Using the back of a scalpel blade, I scored along the fold lines and then used a bone folder to get a crisp, sharp fold in the heavier card.
In boxes 1 and 9, there are clear improvements to their designs through my developments to them but with box 8, I have made a few mistakes toward the design. Where I added tongues and slits to close the box, I misinterpreted the folds of the box. I should’ve placed a click lock on the lid and a shorter tongue on the corner lock. The best change was to add holes for chopsticks to run through, which serve as a handle for the customer. However, the interior of this box is quite small and will not hold much food.
I added crash locks to the interior of box 1, which has enabled the box to be constructed with a no-glue fold. This was almost completely successful, however the interior locks spring upward as there is nothing to weight the card down. This weakness prevents the top flaps from meeting together and the lid also wants to pop open. This box also has a rather small interior. The shape and its near ability to have a no glue fold and the adaptation of adding handles for carrying were its strengths.
Box 9 is the stronger of all three developments because the tabs and slits locked together well to retain the overall structure. Adding handles to the top of the box with slits for chopsticks to slide through makes for an easy way to pack chopsticks and carry the package away. The interior is originally a much longer and larger area to hold multiple items of food. Some weaknesses are that the tabs are visible on the exterior of the box, meaning they could cover up branding applied to the outside. The tabs would also need to be adjusted to slot together without any gaps.
From this experiment, I conclude that box 9 achieves the majority of requirements needed for my takeaway packaging. However, this box departs from my first idea of creating a box that would visually represent a rock through its geometric shape. Therefore, I think it is best to continue development of my packaging, modelling a new design inspired by box 9.
Tue25/09/18: Box 9 reminds me of my initial inspiration for my packaging project: Wanqi Yeo’s mooncake box with internal illustrations. I also used her as a practitioner to refer to. The shape is similar in appearance and I think I may like to explore the idea of a tray that slides into a wrapped package. This way, a tray can be easily stacked on the counter, used by the customer and then the employee can quickly wrap the meal up.
I began to sketch out some new conceptual ideas for a series of small, medium and large packages. My new idea is to design some no-glue folded trays, which would be preconstructed on the counter top for customers. Each container would have a corresponding flat net, which folds up into a secure, carriable container. I’ve explored the idea of single-sheet folding which a tray can easily rest on and made up by the employer.
Wed26/09/18: At today’s crit meeting, we discussed a few of the strengths and weaknesses of my current mock up outcomes. I didn’t get to bring my developed boxes 1, 8 and 9 and new sketches as I thought I’d left them in the studio but instead they were at home! So the group could only see my small mock ups.
Things were pointed out that I am currently aware of, such as a reminder as to how many items of food it can contain. I said that my experimentation has lead me to decide that it would be a lot better to create a more standard tray-like box rather than focusing on the rock-like shapes and that I have already begun sketching up new concepts. The tutors were fine with this idea so I think it is best to move towards a series of boxes that will cater to all of the desired takeaway functions.
I briefly presented my digital illustrations/logo progress so far. There was a response toward the hand with the chopsticks going through as ‘scary’. I wasn’t sure what to say as there was a lot of voices speaking, so said I’d talk to Anthony about it.
Wed26/09/18pm: During my branding meeting this afternoon with Eden and Jennica, Anthony reminded me that any design choices are mine. The ‘chopstick hand’ does work because I wanted my brand personality to focus on the ‘new, playful and quirky’. Fun in the food industry equals positive experiences and a brand that can stand out amongst the competition.
In my illustrations, I am aiming towards being different – a bit quirky with a play on contemporary pop-culture identity that will appeal toward a young adult audience through minimal linework and clear, crisp, iconic imagery.
Anthony recommended to continue this style and roll it out throughout the collateral – menu, business cards, staff uniform, website and so on. He suggested to try illustrations of fish/chicken chopped into segments or with chopsticks going through them. The hands with the chopsticks going through could be mounted on the shop wall and the menus could have a hole in it from which it hangs.
Regarding my logos, the sans serif is stronger alongside my images. They offered advice on adjusting some of the word’s hierarchy and changing sizes and boldness of some of the text. We took a photograph of my hand in the same position as the chopstick hand, as it currently looks like a bit of an optical illusion with the fingers. Otherwise, I have the greenlight to continue with this style, clean up a bit of the linework on the hand and sushi, and adjust my logos.
Using the pen and scissor tool, I adjusted the fingers on the hand to avoid an optical illusion. In the image, on the left is my first attempt at the hand, with the image in the middle my first development and the right hand the last development. As you can see, the hand looks more open with the space between each finger better understood in relation with one another and the palm. I also connected the chopsticks together and thinned the lines inside of the hand’s hole.
Thu27/09/18: Today I continued to work on my illustrations by starting with redrawing some sushi. Drawing the sushi as an outline as opposed to adding colour fills makes it a bit more difficult to visually interpret because colours usually correspond to what we know as sushi. So, I really need to consider the thickness of line and the type of shapes I want to express. These were my first attempts at drawing sushi. They don’t quite seem to sell themselves just yet; especially the circular one which looks a bit like a donut to me. The lines are meant to resemble fish meat.
When redrawing the sushi again, I focused on changing the thicknesses of line and the size of the ingredients in their centres. As I was drawing the more flat, birds-eye view circle and square sushi’s, I realised that this might also be why the sushi looked strange when placed alongside the rock and paper images – because they both have a more three-dimensional shape. I then drew two pieces of sushi from a more three-dimensional viewpoint which seemed to create more balance and unity alongside the rock and paper.
To the left, the image shows what the three different sushi illustrations look like alongside the rock and paper. To keep the illustration work cohesive, I think it is best to keep the line thicknesses between each image the same.
After I felt happy with my new illustrations, I began to update them alongside text for my brand name/logo. Here I played around with spacing, kerning and alignment to try and get a balanced hierarchy between the image and each word. I played with the idea of having three icons – rock, paper and sushi as well as three hand gestures representing the game ‘rock paper scissors’, with the last hand holding chopsticks as a bit of a pun. I also included a trial of the hand with chopsticks running through placed center to arching type. To better emphasis the word ‘sushi’, I tried making it the largest word and in other cases, I made it the boldest word. Below are my final arrangements of text and image to form various ‘logos’ that will be established across the brand in different forms; such as on the staff uniform, as a shop sign, on my website and on business cards. In my discussions with Anthony, we both thought that the circular type with the hand could serve well as the shirt logo, while any of the other horizontal logos could be used for a shop sign and business cards. The font used here is variations of Monserrat.
I’ve begun to think about establishing a colour palette that will tie my brand together and represent it’s values and personality. I’m trying to get colours that seem to represent more natural, earthy tones of seascapes and rocks as well as some brighter colours that are a bit more playful and representative of the food; salmon pinks, tuna reds, seaweed greens. I’m quite attracted to the softer, muted tones; I’m so sure if going to bright and vibrant would throw off the ideas of natural/sustainable.
My next steps should be to email Anthony or set up a meeting with him to follow up on my developed work and get his thoughts around selecting a colour palette. Then I will be able to smash out a final series of logos that can correspond into business cards, my shop’s sign, for the menu and website etc.
Fri28/09/18: This week, I have made some significant progress towards narrowing the direction of my work. In conducting and evaluating the various packaging mock-ups, I was able to draw the conclusion of what box was able to use the most functionalities that I am looking for. This was box 9. Although this design does not perfectly match all the requirements, I have been able to draw up new concepts inspired from this as. It is definitely a good call to steer away from the more aesthetic idea of a rock-like box design towards a series of trays in sizes small/medium/large that can be easily wrapped up with carry away packaging. It is important to get the function right.
I’ve progressed with my digital illustration and have decided to push forth my idea of using more quirky imagery as I feel that this is representative of my brand. Next week, I will continue to develop my packaging and draw new illustrations to roll our into collateral.